Marion Brown

After yesterday’s post on Solomon Burke, Eyedea and Ari Up, Chris points out what I should have remembered: Don’t forget that Marion Brown also died recently.

Not that I can say anything that his music didn’t already say on its own. I can, as these things go, remember when I first discovered him via his eponymous ESP album. Crossroads Records on Hawthorne, in Portland, Ore. The cover was black-and-white, no title. I was just getting back into jazz. It didn’t really stick out from most other ESP stuff I was finding at the time.

But Brown’s name popped up time and again. Most notably, on Coltrane’s beast Ascension and Archie Shepp’s Fire Music, two hallmarks of the avant-garde. You could take the boy out of Georgia, but you can’t take Georgia out of the boy, and his series of records inspired by his home state find his vision coming complete: Afternoon of a Georgia Faun is an actual avant-garde outing on the now-pulseless ECM, and Geechee Recollections on Impulse is gracefully biting.

Somehow this all ties into me buying tickets for and then deciding not to go see Best Coast tonight. I’ve blown hot on Crazy for You and been entertained by its hooks, but ultimately, I feel perplexed that the world’s so-called discerning music listeners are elevating something so stringently unoriginal. If I were a female songwriter, I would be especially frustrated, because Bethany Cosentino has now proven that lifting the Shirelles’ schtick, rhyming the same words over and over, sticking to the same themes of longing and loneliness and adding in a few references to cats and weed are all it takes to achieve stardom, apparently. I love me a good jingle, and Crazy for You is shameless fun, but if I’m going to get really hyped on something it better be more variegated. In that dept., Marion Brown: 1. Best Coast: 0.